For 1,153 reviews, this critic has graded:
  • 74% higher than the average critic
  • 2% same as the average critic
  • 24% lower than the average critic
On average, this critic grades 12.4 points higher than other critics. (0-100 point scale)

Eric Kohn's Scores

  • Movies
  • TV
Average review score: 76
Highest review score: 100 Somebody Up There Likes Me
Lowest review score: 16 Wish Upon
Score distribution:
1153 movie reviews
    • 54 Metascore
    • 67 Eric Kohn
    It’s a stupid movie with deep ambitions, energized by that trippy neon palette, and the occasional hot beat.
    • 81 Metascore
    • 91 Eric Kohn
    The movie provokes the wonder and terror of what it means to live in a world where every resolution brings new questions, and the prospects that a happy ending might carry the greatest risk of all.
    • 57 Metascore
    • 75 Eric Kohn
    While The Salt of Tears threatens to devolve into a sympathetic male gaze with each new turn, Garrel actually manages to burrow within those boundaries and deconstruct their flaws from the inside out.
    • 69 Metascore
    • 67 Eric Kohn
    Petzold remains a master of capturing frantic characters doomed by dark obsessions, and while Undine is certainly a minor work, it still shows evidence of a master’s hand.
    • 81 Metascore
    • 83 Eric Kohn
    The movie has a loose, almost amateurish quality to its production that suggests another rush job from a filmmaker unwilling or unable to slow down. But the movie reveals its deeper layers with time, congealing into a perceptive and often charming bite-sized study of smart women contending with a series of annoying men.
    • 51 Metascore
    • 42 Eric Kohn
    Here and there, Minamata tells a bracing story of corporate malfeasance and bracing advocacy for the underclass, but even the occasional poignant observation can’t salvage a movie trying this hard to tug every heartstring at its disposal.
    • 92 Metascore
    • 91 Eric Kohn
    Guided by Jóhannsson’s ethereal score, this dazzling apocalyptic immersion blends cosmic 16mm black-and-white images of Yugoslavian architecture with a deadpan Tilda Swinton voiceover, resulting in a profound lyrical rumination on the end of days.
    • 66 Metascore
    • 83 Eric Kohn
    While the rules of her conundrum never quite coalesce and some of the twists feel shoehorned, The Intruder generates so much intrigue to maintain a breathless pace and unsettling atmosphere at every turn, with Rives’ layered performance fusing the strange trip together.
    • 75 Metascore
    • 83 Eric Kohn
    DAU. Natasha is haunting and effective, but not always the sum of its parts, and sometimes has a tendency to drag. Even so, the spell lingers long after the credits roll, and the opportunity to consider the many sides of DAU. Natasha is a unique intellectual exercise.
    • 44 Metascore
    • 58 Eric Kohn
    My Salinger Year often trips on the self-serious nature of its premise, and struggles with an antiquated quality out of sync with its timeline, as if trapped between the character’s genuine experiences and her idealized vision of a literary world that doesn’t really exist.
    • 61 Metascore
    • 75 Eric Kohn
    Onward doesn’t reinvent the wheel, but spins it so well that it conjures a spell of its own as a new decade dawns with the Pixar touch intact.
    • 47 Metascore
    • 50 Eric Kohn
    The 2020 Call of the Wild isn’t all-out atrocity so much as a question mark, a formulaic adventure story spruced up with cutting-edge technology in search of a purpose.
    • 77 Metascore
    • 67 Eric Kohn
    There’s certainly enough here to provoke meaningful questions that transcend the boundaries of the frame, and Nine Days hits a commendable note about the value of embracing life’s unpredictable turns. But no matter its celestial implications, the movie can’t shake the impression of a brilliant concept that never takes flight.
    • 61 Metascore
    • 83 Eric Kohn
    At times a bit too enamored of these loose conceits, The Nowhere Inn sometimes registers as a cheap fuck-with-the-audience provocation that might have been better suited for a viral short (or several), but at its finest moments the movie conjures a singular vision steeped in zaniness, but not devoid of purpose.
    • 63 Metascore
    • 75 Eric Kohn
    Guided by Angel Manuel Soto’s slick direction and a breakthrough performance from Jahi Di’Allo Winston, the movie works overtime to energize real-world struggles with the thrill of street life.
    • 74 Metascore
    • 75 Eric Kohn
    The filmmakers illustrate that governmental power is a fickle thing, prone to exploitation and good will alike, depending on who decides to pursue its offices.
    • 80 Metascore
    • 67 Eric Kohn
    If The Nest amounts to an elaborate exercise in style, at least it matches the material. Rory’s obsessions are all surface and no depth. For better or worse, the movie follows him into that void.
    • 88 Metascore
    • 75 Eric Kohn
    It’s a smart and sturdy behind-the-scenes look at a high-profile #MeToo drama, and succeeds at scrutinizing the conundrum facing countless women still afraid of speaking out.
    • 80 Metascore
    • 83 Eric Kohn
    July’s style is at once cerebral and irreverent, but “Kajillionaire” doesn’t always find the most satisfying way to juggle those dueling tones. However, its spell lingers as July’s biggest concepts take root, and the movie turns from tragic to hopeful at an unlikely moment in tune with the artist’s previous works.
    • 93 Metascore
    • 91 Eric Kohn
    Oscillating from intimate father-daughter exchanges to surreal meta-fictional tangents, the movie lives within its riveting paradox, reflecting the queasy uncertainty surrounding its subject’s fate.
    • 72 Metascore
    • 75 Eric Kohn
    The 40-Year-Old Version doesn’t overcome all of its rough edges, but they’re so closely tied to the personality of the creator that it’s hard to shake the underlying appeal.
    • 85 Metascore
    • 75 Eric Kohn
    It makes up for a dry and sometimes stilted filmmaking approach through sheer clarity of purpose.
    • 86 Metascore
    • 75 Eric Kohn
    Crip Camp proves some success stories only grow more powerful with age, and their ability to inspire action is timeless.
    • 83 Metascore
    • 91 Eric Kohn
    Bloody Nose, Empty Pockets may not be the straight-faced documentary it looks like, but it’s a sober-eyed document of our times nonetheless.
    • 72 Metascore
    • 83 Eric Kohn
    Director Janicza Bravo’s zany road trip comedy about a pair of strippers on a rambunctious 48-hour Florida adventure embodies its ludicrous source while jazzing it up with relentless cinematic beats.
    • 65 Metascore
    • 50 Eric Kohn
    Bad Hair has plenty to say — about the plight of black women in particular and blackness in popular culture in general — but his movie can’t settle on laughing off the conflict or regarding it with dread. Instead, it settles on lingering in the knotted chaos, hoping that the message still burns.
    • 34 Metascore
    • 50 Eric Kohn
    Perry’s self-produced soap opera scribble is the kind of hilarious so-bad-it’s-good romp in which the man behind the curtain invites his viewers to roll their eyes.
    • 32 Metascore
    • 58 Eric Kohn
    It takes some ambitious swings and works on its own terms in fits and starts, all while not really working at all. Like the T.S. Eliot poems that inspired it, Cats is an elaborate lark.
    • 53 Metascore
    • 58 Eric Kohn
    With emerging rebel leader Rey (Daisy Ridley) providing a sturdy emotional foundation, and billions of Disney dollars fueling an obviously stunning array of special effects, Rise of Skywalker doesn’t squander every opportunity to dial up the thrilling nature of the epic at hand, but all that razzle-dazzle can’t obscure a hollow core.
    • 64 Metascore
    • 67 Eric Kohn
    Bombshell is a lurid, cartoonish romp, marred by rough and sometimes overbearing flourishes, but not without a tragicomic soul. That alone makes it a genuine movie of the moment.

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